Musical Rhythmology as the Basis of the Applied Specificity of Contemporary Performance Culture

Abstract

The purpose of the study is to analyse existing approaches to rhythm theory, identify methodological difficulties in their formalisation, and substantiate an interdisciplinary approach to the study of rhythmic structures, taking into account their intonational and perceptual nature. The research methodology is based on a comprehensive analysis of music-theoretical concepts, philosophical ideas about time and its perception, as well as an empirical reflection on performance experience in variety music genres, especially jazz, and other forms of musical art. The scientific novelty of the article lies in the systematisation and synthesis of knowledge concerning rhythmic forms and the dynamics of their performance, as well as in substantiating rhythmology as an independent academic field that integrates theoretical and practical aspects of musical rhythm. Emphasis is placed on the importance of studying rhythmic formulas, metric systems, agogics, and polyrhythm for the accurate realisation of the composer’s intentions and for allowing the performer to fully reveal the emotional content of a work. The conclusions highlight the need for further development of rhythmology within the system of music education and for broadening its methodological foundation in light of contemporary musical styles and present-day aesthetic demands. Special attention is given to the integration of the rhythmological approach into the realm of variety music performance, which fosters a deeper understanding of a work’s rhythmic organisation and a fuller revelation of the performer’s interpretation. The study thus undertaken shapes a holistic conception of rhythm as a dynamic, multidimensional category of musical time, remaining relevant both to contemporary performance practice and to further theoretical inquiries in musicology.